Sapientia Aedificavit Sibi Domum. Es decir, "la sabiduría ha edificado aquí su casa". Resulta curioso que la misma frase aparece en el Evangelio de María Magdalena, un texto apócrifo. Se dice que en el interior de esta iglesia y de otras muchas de Venecia está escondido el tesoro de los templarios. Pero no hay ninguna prueba de ello. Para terminar ya con esta entrada me gustaría que nos acercásemos un momento a uno de los edificios más emblemáticos de Venecia: el Palacio Ducal.
"¡Oh profundidad de las riquezas de la sabiduría (sophia) y de la ciencia (gnwsiV, gnosis) de Dios! ¡Cuán incomprensibles son sus juicios, e inescrutables sus caminos!" (Romanos, 11: 33).
4. SCALA CONTARINI DEL BOVOLO: 45.434838, 12.334694
Ya aviso que no es nada fácil de encontrar, de hecho, es uno de esos rincones que pasan totalmente desapercibidos a menos que sepas de su existencia. Normalmente, todos los palacios tienen dos entradas, una principal que da hacia el Gran Canal y que es más espectacular, y otra secundaria que era usada por el servicio. Pues bien, este es de los pocos palacios en los que su entrada secundaria es casi más bonita que la principal, todo gracias a una maravillosa escalera de Caracol que hace las delicias de los descubridores viandantes (Bovolo significa Caracol).
Cerca de este Palacio se encuentra el famoso teatro de La Fenice, donde han sonado las Óperas italianas más importantes de la historia.
Escondida en un laberinto de calles y canales, a pocos pasos de Campo Manin, en uno de los principales itinerarios turísticos venecianos, surge una joya arquitectónica caracterizada de un estilo entre renacimental (por la utilización de algunos elementos), gótica (por la técnica de costrucción) y veneto-bizantina (por la forma): la Scala Contarini del Bovolo.
La escalera a espiral más importante y prestigiosa de Venecia, fue encargada su realización por Pietro Contarini a finales del 1400, con el objetivo de decorar la fachada del colindante Palazzo San Paternian de propiedad de la ilustre familia veneciana. La realización de esta ópera, no tenía al inicio un verdadero motivo funcional, consistía simplemente en un acto de prestigio, se buscaba únicamente aumentar la popularidad y prestigio del clan familiar.
La creación de la escalera ha tenido una resonancia tan fuerte que llevó a la ciudadanía a dar un nombre característico a la familia, como “Contarini del Bovolo” (por la forma particular de la escalera a forma de caparazón de caracol, que en veneciano se dice “bovolo”). El pórtico en el segundo piso de la Scala del Bovolo conduce a una sala prestigiosa del Palazzo Contarini (Sala del Tintoretto) en donde se encuentran expuestas las obras provenientes de la colección de arte del IRE, que está constituída de pinturas, esculturas y objetos de un significado importante de época veneciana con los más ilustres protagonistas del panorama artístico veneciano del 1500 al 1700.
Cerrado: 1 de Enero, 15 agosto, 1 noviembre, 25 y 26 diciembre. Cierre extraordinario: 9 abril de las 10:00 a las 12,30
La ventanilla cierra 30 minutos antes de que cierre el museo.
Precios
7€ Entero
6€ Reducido: Menores de 26 años, Mayores de 65, Socios FAI
Gratuito:
Menores hasta12 años
Guías Turísticas autorizadas
Residentes en Venecia (con documento de reconocimiento y residencia)
Dependientes IRE y Fundación Venecia Servicios a la Persona
Las entradas gratuitas deben ser adquiridas en la ventanilla. No se pueden reservar. Reservación obligatoria para grupos de más de 10 personas.
1. Génesis 28:12Y soñó: y he aquí una ESCALERA que estaba apoyada en tierra, y su extremo tocaba en el cielo; y he aquí ángeles de Dios que subían y descendían por ella.
2. 1 Reyes 6:8La puerta del aposento de en medio estaba al lado derecho de la casa; y se subía por una ESCALERA de caracol al de en medio, y del aposento de en medio al tercero.
3. Ezequiel 41:7Y había mayor anchura en las cámaras de más arriba; la ESCALERA de caracol de la casa subía muy alto alrededor por dentro de la casa; por tanto, la casa tenía más anchura arriba. Del piso inferior se podía subir al de en medio, y de éste al superior.
“The most effective way to destroy people is to deny and obliterate their own understanding of their history.”
---- George Orwell
My own reproduction of the Templar relics in the form of a female silver head containing a couple of skull bones of a small woman with the word Caput LVIII M.
Templar Foundations
A Templar ship Brass Plate Magdalene Vault
During my past life regression along with my spiritual portrait, my research on Mary Magdalene and my conversations with various mediums and historians there is one group of people who keep cropping up time and time again, The Knights Templar.
The Templars were founded around the year 1118 as an order of fighting monks whose job was to protect the pilgrims visiting the Holy land. It must be noted here however that no evidence has suggested the Templars actually carried out this particular task. Moreover, there have been suggestions their actual task was for something else like excavation work. It’s also important to note that the order began with only nine members for the first nine or so years which would have made it very difficult to cover all pilgrim routes to the Holy land.
By 1127 the Templars had established themselves in Western Europe with countries including Portugal, France, England and Scotland. The church had even officially recognized them as a religious order dedicated to the defence of Christendom. Further down the line in 1139, a papal bull was issued that the Templars would owe allegiance to the pope only, making them immune to political and religious authorities.
Sophia
Old antique Templar pendant Magdalene Vault
However during the latter part of the 12th century the Templars were facing serious problems. The Templars enormous wealth and influence which had built up over a number of years brought them into growing opposition to the Church and worldly monarchs. The Knights Templar were accused of many heinous crimes including denial of an immortal Christ, ritual murders and of worshipping a bearded head called Baphomet to name but a few.
It all came to a head in 1307 on Friday, October 13th, Jacques de Molay, Grand Master of the Templars and sixty of his Knights were imprisoned in Paris. In 1312 the pope officially dissolved the Knights Templar Order and then in 1314, after Jacques de Molay was burned alive, it seemed that the Knights Templar had ceased to exist, yet the Order continued in other countries under various names.
The Templars venerated Mary Magdalene and to them she represented Sophia, the female side of god. The word Sophia means “wisdom” and many people believe Sophia came to earth in the body of Mary Magdalene herself. During the Templars inquisition, one accusation amongst many was the worshipping of a goat head called “Baphomet”. It was not apparent why the Templars would worship such a thing until you apply something called the Atbash Cipher. This code was used as early as 500BC and was found to be used in some of the Dead Sea scrolls. When applied to the name Baphomet we get the name Sophia!
Relic and Cathars
Antique engravings from an old french book showing scenes from the Cathar crusade at Montseguer & the massacre at Beziers. Magdalene Vault
Whilst on the subjects of heads, the Templars also had in their possession an interesting relic in the form of a female silver head containing a couple of skull bones of a small woman. It also came with a label on which read the following; Caput LVIII M (Head 58M). At first glance the message is a just a random few numbers and a letter but when you add five with eight you get thirteen. The letter M is the thirteen letter of the alphabet and together with the other M we have a double hit. Could this female relic have been the bones of Mary Magdalene? It is also noteworthy that the bones themselves were wrapped in a red cloth, the colour most associated with Mary Magdalene.
With the worship of Sophia through the disguise of Baphomet along with the 58M female headed relic we can possibly assume that the Templars regarded the importance of Sophia and acknowledge her human existence in the form of Mary Magdalene. It would not be the first time that both Sophia and Mary Magdalene have had a connection. In one Gnostic Gospel called The Pisits Sophia, Mary Magdalene plays a central role. It contains 46 questions in the dialogues of which 31 are asked by Mary Magdalene herself.
The Templars also had a connection with the Cathars, a Christian dualist or Gnostic movement which arrived in France around the 12th century. Like the Templars, they held Mary Magdalene in very high esteem calling her the femine aspect of the divine and recognised her equal status with Jesus. It is also known that at least one of the nine founders of the Templars was a Cathar. The 4th grand master of the Templars, Bertrand de Blanchefort was from a Cathar family.
Cathar Templar connection
Old St Mary Magdalene Relic The Magdalene Museum
Another question which arises is why this particular area in the south of France is the focal point for both the Cathars and Templars. Could it be argued that the Magdalene arrival in France after the crucifixion set the motion of the events that followed? It is most likely that the Cathars had in their possession Gnostic Texts amongst their many other documents and may have had knowledge of the Magdalene voyage itself.
I strongly believe that the Templars were set up or influenced by the Cathars themselves with the objective to befriend the Church and gaining their trust, a kind of double agents type. One of the nine founding members, Hugues de Pagens, had ties with many Cathar people and possibly had been a Cathar himself. Indeed his genealogy points to Cathar heartland and another member, Godfrey de Saint-Omer appears to have been a relative of his. Their mission to protect the pilgrims from the holyland had simply been a “smoke screen” for their main intentions and activites.
Being just a normal Cathar would simply have got them nowhere, even before the Templar establishment they were already being hounded out including the burning at the stakes of Cathars in Orleans in 1022. They already had in their possession gospels and documents of Gnostic nature and more than likely had the Magdalene relics too. There was far more to be discovered in the Holyland which they could attain and keep. Also the Cathars knew the church at one point would come down hard on them, it was just a matter of time. What the Cathars needed was an army of knights to gain entry into the holyland and then to guard their sacred documents, relics and even their own beliefs and history.
Genocide
Templar Postcard, Temple London Magdalene Vault
In 1208 began a series of wars known as the Cathar crusade which was organised and directed by the Catholic Church on the orders of Pope Innocent lll. From the first seize in Beziers on July 22nd 1209 (St Mary Magdalene’s feast day), to the last Cathar foothold at the Chateau of Montsegur, the Cathars were hounded out, burned at the stake and slaughtered in what many people call the first genocide of Europe.
During the crusades against the Cathars, the Templars had no choice but to remain neutral. If they sided with the Catholic Church then they would be fighting against their own people, against similar beliefs and even possibly their own families. On the other hand if they sided with the Cathars then it would put the order at risk and everything they protected including their connections with the “heretics” along with sacred documents and treasures would be revealed. The only logical thing to do was to stay neutral although it has been reported that the Templars did provide a haven for Cathar refugees and the increase of Cathars which joined the Templar ranks at that period of time rose sharply.
At the last stronghold of Cathars at Montsegur in 1244, a few Cathars did manage to escape the oncoming slaughter and with them they carried some form of treasure. It could well be that these Cathars and their treasure, ended up with the Templars and thus their treasure were safe and protected……...for now.
Fall of the Templars
Postcard Port of La Rochelle, France
In the aftermath of the Cathar crusade the Templars remained protected and their influence and wealth was still growing. However by the turn of the 14th century the Templars had also attracted many powerful enemies, one of whom would lay the first stone to the demise of the Templar order, or at least, so he thought. Philippe lV of France had become envious and angry with the Templars, he owed them a great deal of money, thought they were arrogant and unruly ,no control was over the Templars as they only answered to the pope and all this on Philippe’s own territory. This all gave reason for Philippe to use heresy as an excuse to get rid of the order.
After the kidnapping and subsequent death of Pope Boniface Vlll along with the poison of another, namely Benedict Xl, Philippe conveniently secured the election of one Clement V, who was at the time archbishop of Bordeaux. This allowed Philippe to get what he wanted, the suppression of the Templars because after all, Clement V was indebted to him for making him pope.
From that moment on the Templars had become wanted men and many were tortured and interrogated on October 13th, 1307. Philippe may have quashed the Templars but their treasure had eluded him, nothing was found. It is more than probable that the Templars knew of this impending danger and took their treasure of wealth, sacred documents and relics and sent them to their naval base at La Rochelle were they transported all this onto around eighteen galleys ready to disembark. What happened to those ships remains a mystery, maybe some ended up in Portugal or more so to Scotland, the only monarchy in the 14 century Europe that did not recognize the authority of the Catholic Church.
Meanwhile the Templars were officially dissolved in 1312, despite the lack of evidence and information that Philippe had accused them of. In 1314 the grand master if the Templars, Jacque de Molay was roasted to death over a burning fire. Philippe had even gone to lengths after to persuade other monarchs to follow his lead to make sure no Templar survived but this mainly fell on deaf ears, particularly in Scotland. Philippe himself died of mystery causes at the end of 1314, the same year as he ordered the death of Molay. Indeed one month after the burning of the grand master, Pope clement was dead. It was reported that Molay had called his persecutors to join him before God’s court within a year while he was about to be burned!
Las escaleras de los Museos Vaticanos son una obra de arte más que añadir a la Capilla Sixtina, el Laocoonte o los Dalí y Miró que a menudo pasan desapercibidos, porque todo el mundo sigue las flechas hacia la gran obra pictórica de Miguel Ángel.
Escalera de Bramante del Vaticano
Esta increíble escalera que en un genial efecto óptico parece que no va a terminar nunca es obra de Donato d’Angelo Bramante, que ha pasado a la posteridad como Bramante. Vivió a caballo entre los siglos XV y XVI, y fue uno de los arquitectos italianos más reconocido, por ser el ideólogo de la Basílica de San Pedro.Bramante fue además quien introdujo el Renacimiento en Milán y realizó obras tan hipnóticas como esta escalera que emula las espirales del ADN. El efecto “infinito” lo consigue la doble hélice enrollada hacia la derecha. En realidad, cuando nos asomamos a la escalera, si nos fijamos, vemos que en realidad no es una sóla escalera, sino dos enroscadas. Una de ellas es para bajar y otra para subir.
La escalera se encuentra a la salida de los Museos Vaticanos, en realidad, es la última obra de arte que se contempla en las galería y el visitante se lleva de recuerdo esta espiral sin fin. Si la escalera está practicamente vacía, como en la foto, es más difícil de descubrirle el truco al artista, pero si circula gente, que es lo habitual, el secreto está en fijarnos en que una de las espirales está llena de personas – la de bajada – y otra casi vacía, – la de subida -, porque está cerrada al público.
Ungido, Michel de Notre-Dame o Miguel de Nostradamus fue un sujeto astuto, judío por trascendencia pero tornado católico por convicción quien era protegido por Catalina de Medici y otros poderosos de su tiempo y por ello mismo fue intocable, eso, tú lo sabes de sobra, solo te lo recuerdo, además, su cultura le daba pie a codearse por las cortes y doquier le diera su deseo, algunos sabían de sobra que el tipo era impenetrable y el ocultismo lo sabía manejar a la perfección, algo así como el pintor Miguel Ángel, quien a pesar que decoró la bóveda de la capilla sixtina con desnudos que podrían haberse interpretado como obsenos, por su cultura y de arquitecto, escultor y pintor, hasta el día de hoy se les llama obras de arte y lo son, pero los curas que presumen falsamente de recato lo permitieron, esa gente es sucia de mente y cuerpo.
Saludos...
Abajo, representaciones de la supuesta creación de Eva y así mismo la de Adán y más abajo, el Juicio final, todo eso es una falacia...
The Golden Section (aka Golden Mean, and Golden Ratio) phys.org
We use math in architecture on a daily basis to solve problems. We use it to achieve both functional and aesthetic advantages. By applying math to our architectural designs through the use of the Golden Section and other mathematical principles, we can achieve harmony and balance. As you will see from some of the examples below, the application of mathematical principles can result in beautiful and long-lasting architecture which has passed the test of time.
Using Math in Architecture for Function and Form
We use math in architecture every day at our office. For example, we use math to calculate the area of a building site or office space. Math helps us to determine the volume of gravel or soil that is needed to fill a hole. We rely on math when designing safe building structures and bridges by calculating loads and spans. Math also helps us to determine the best material to use for a structure, such as wood, concrete, or steel.
“Without mathematics there is no art.” – Luca Pacioli, De divina proportione, 1509
Architects also use math when making aesthetic decisions. For instance, we use numbers to achieve attractive proportion and harmony. This may seem counter-intuitive, but architects routinely apply a combination of math, science, and art to create attractive and functional structures. One example of this is when we use math to achieve harmony and proportion by applying a well-known principle called the Golden Section
Math and Proportion – The Golden Section
Perfect proportions of the human body – The Vitruvian Man – by Leonardo da Vinci.
We tend to think of beauty as purely subjective, but that is not necessarily the case. There is a relationship between math and beauty. By applying math to our architectural designs through the use of the Golden Section and other mathematical principles, we can achieve harmony and balance.
The Golden Section is one example of a mathematical principle that is believed to result in pleasing proportions. It was mentioned in the works of the Greek mathematician Euclid, the father of geometry. Since the 4th century, artists and architects have applied the Golden Section to their work.
The Golden Section is a rectangular form that, when cut in half or doubled, results in the same proportion as the original form. The proportions are 1: the square root of 2 (1.414) It is one of many mathematical principles that architects use to bring beautiful proportion to their designs.
Examples of the Golden Section are found extensively in nature, including the human body. The influential author Vitruvius asserted that the best designs are based on the perfect proportions of the human body.
Over the years many well-known artists and architects, such as Leonardo da Vinci and Michelangelo, used the Golden Section to define the dimensions and proportions in their works. For example, you can see the Golden Section demonstrated in DaVinci’s painting Mona Lisa and his drawing Vitruvian Man.
Famous Buildings Influenced by Mathematical Principles
Here are some examples of famous buildings universally recognized for their beauty. We believe their architects used math and the principals of the Golden Section in their design:
The classical Doric columned Parthenon was built on the Acropolis between 447 and 432 BC. It was designed by the architects Iktinos and Kallikrates. The temple had two rooms to shelter a gold and ivory statue of the goddess Athena and her treasure. Visitors to the Parthenon viewed the statue and temple from the outside. The refined exterior is recognized for its proportional harmony which has influenced generations of designers. The pediment and frieze were decorated with sculpted scenes of Athena, the Gods, and heroes.
Built on the Ile de la Cite, Notre Dame was built on the site of two earlier churches. The foundation stone was laid by Pope Alexander III in 1163. The stone building demonstrates various styles of architecture, due to the fact that construction occurred for over 300 years. It is predominantly French Gothic, but also has elements of Renaissance and Naturalism. The cathedral interior is 427 feet x 157 feet in plan. The two Gothic towers on the west façade are 223 feet high. They were intended to be crowned by spires, but the spires were never built. The cathedral is especially loved for its three stained glass rose windows and daring flying buttresses. During the Revolution, the building was extensively damaged and was saved from demolition by the emperor Napoleon.
Built in Agra between 1631 and 1648, the Taj Mahal is a white marble mausoleum designed by Ustad-Ahmad Lahori. This jewel of Indian architecture was built by Emperor Shah Jahan in memory of his favorite wife. Additional buildings and elements were completed in 1653. The square tomb is raised and is dramatically located at the end of a formal garden. On the interior, the tomb chamber is octagonal and is surrounded by hallways and four corner rooms. Building materials are brick and lime veneered with marble and sandstone.
Taj Mahal designed by Ustad-Ahmad Lahori
As you can see from the above examples, the application of mathematical principles can result in some pretty amazing architecture. The architects’ work reflects eye-catching harmony and balance. Although these buildings are all quite old, their designs have pleasing proportions which have truly passed the test of time.
A Magdalena se la considera guardiana de la tradición sagrada del genuino culto a la "Diosa Madre", milenariamente más antiguo que cualquier religión.
El culto a la "Diosa" es el primer contacto con lo sagrado que tuvo el ser humano, y el único hasta que llegaron las primeras civilizaciones humanas, con los consabidos diositos Anunnaki.
En ese momento la "Diosa Madre", el arquetipo de la Madre Tierra original, se destapó como el culto a la diosa sumeria Inanna, y luego a Ishtar, Gea, Cibeles y un largo etcétera de adaptaciones culturales.
Venus de Willendor.
Eran sociedades matriarcales donde la supervivencia de la especie dependía de la fertilidad de la mujer, lo que la asociaba a la "divinidad".
Por eso, a la divinidad se la representaba con grandes pechos y órganos sexuales remarcados como las abundantes estatuillas encontradas. La mujer tenia a su cargo el cuidado de los niños y la recolección de frutos y raíces, con un contacto y un aprendizaje continuo con la naturaleza y sus ciclos. De ahí que se acabara asociando también a la diosa de la fertilidad con la naturaleza, una segunda "madre" que sustenta y protege al ser humano.
Así nacieron las "venus paleolíticas", una gran variedad de estatuillas femeninas como la de la izquierda, donde el rostro no está dibujado, pero sí sus genitales.
Las características femeninas, cadera, pecho, vientre suelen estar resaltadas y en esta figurilla en concreto, hay restos de pintura roja, como el habitual vestido de María Magdalena.
Uno de lo símbolos de la "Diosa Madre" primigenia es el "Huevo Cósmico", el germen de la creación, icono también de fertilidad y del ciclo de la vida. El huevo es en realidad el feto que nace y renace en la matriz, en el vientre abultado - en forma de huevo - que anticipa el comienzo de una nueva vida.
Las dos mitades del huevo, clara y yema, son el símbolo perfecto para la dualidad de la vida: femenino-masculino, noche-día, cielo-tierra y para la dualidad maniqueísta del Bien y el Mal, en la que basaban su creencia los Cátaros, que quizás por eso fueron tan devotos de María Magdalena.
Magdalena y el "Huevo Cósmico".
Y es que MM. fue la heredera del culto a la "Diosa Madre" y su "huevo primigenio" y por eso se la representa con el atributo de un huevo.
El arte sacro, que en sus tiempos tenia una importante función divulgativa, presenta a María Magdalena con el "Huevo Cósmico" pero también vestida con una túnica o un manto rojo, símbolo de la diosa iniciática, de la gran sacerdotisa: el arquetipo de la "mujer de rojo".
No sabemos si Caperucita Roja llevaba huevos en la cesta para su abuelita, pero si que sabemos que siempre vestía una capa de color rojo con la que se hecho más famosa aún que María Magdalena.
Psicoanalizar a la niña del bosque nos llevaría demasiado texto y lo dejaremos para mejor ocasión, pero dejamos constancia de esta "coincidencia" en su vestuario con Magdalena, que más adelante tomará sentido.
Los huevos, pintados de colores, fueron usados en el antiguo Egipto como ofrendas.
Mucho antes, en Babilonia, la diosa Ishtar había salido de un huevo que cayó del cielo al río Éufrates, donde fue recogido y empollado por unas palomas (de ahí el símbolo de la paloma blanca para la Virgen María, la impostora que se ha hecho pasar por madre de Jesús).
De ahí nace la tradición de pintar huevos por Pascua, ya que la fiesta de la Semana Santa se llama "Easter" (así la llaman en inglés) y debe su nombre a Ishtar/Easter.
La Iglesia, tan sincera como siempre, ha justificado este origen pagano de la Pascua diciendo que el huevo es "Cristo emergiendo de la tumba", una maniobra un poquito forzada.
Lady Gaga dentro del huevo del que emergió triunfante en la gala de los Grammy de 2011,
en un sentido homenaje a la "Diosa" que seguramente le está dando su beneficio.
A la derecha, su cuenta de Twitter con el huevo primigenio,
que la red social usa por defecto en los perfiles.
Los ortodoxos han solucionado mucho mejor la presencia del "Huevo Cósmico" en Magdalena.
Lo han hecho con una bonita historia según la cual, María Magdalena se fue a Roma predicar el evangelio, después de la resurrección de Jesús. Allí se entrevistó con el emperador Tiberio y sosteniendo un huevo de gallina, exclamó:
"¡Cristo ha resucitado!"
El emperador rió y dijo que eso era tan probable como que el huevo se volviera rojo (de nuevo el color rojo asociado a MM.).
Evidentemente el huevo se tiñó al momento.
Tradicional Mona de Pascua que se regala el Domingo de Resurreción en Cataluña
De la asociacion con el "Huevo Cósmico" de Magdalena nace también la tradición de la "Mona de Pascua", muy popular en Cataluña.
Aunque la modernidad ha robado parte de la esencia de la tradición, aún se pueden encontrar Monas con el genuino huevo de chocolate, que ya ha sido sustituido por Sirenitas, Pitufos, Messis, etc. de chocolate
Pero el origen de la "Mona de Pascua" no reside sólo en el huevo de chocolate, también en sus ingredientes.
Tanto la Mona como los bizcochos, llamados Madalenas en España, están hechos con huevo. El nombre de "Madalenas" (derivación de Magdalenas) proviene del nombre de la Santa, que aparece llorando desconsoladamente en varios episodios de la Biblia.
De ahí la frase "Llorar como una Magdalena", que es lo que hacen los bizcochos cuando gotean la leche en que han sido "mojadas".
La "Danza Cósmica" del "Huevo Cósmico" en la Catedral de Barcelona
Pero la estrecha relación de los huevos con Cataluña no termina en la respotería.
El "Ou com Balla" es una antigua costumbre de la festividad del Corpus, que se celebra en el claustro de la Catedral de Barcelona - allí empezó la tradición - y en otras fuentes de la ciudad y del resto de Cataluña.
El cascarón de un huevo vacío gira y gira sin caerse encima de un surtidor de agua, de ahí el nombre de la tradición: "El huevo como baila"
En el extremo oriental de los Pirineos, al norte de la actual Cataluña, el símbolo del "Huevo Cósmico" ha sido universalizado por Salvador Dalí. Su casa museo de Port Lligat y el Museo Dalí de Figueras lucen huevos gigantes en su tejado, evocando al símbolo de María Magdalena, el huevo de Inanna-Ishtar como "Diosa Madre".
El pintor tenía además un busto de tamaño natural de "su adorada" María Magdalena - con huevo incluido - en una de las estancias de la casa.
"Bajo el signo de Ishtar", y bajo el signo de Dalí,
en el tejado de su casa en Port Lligat y en una de sus estancias.
María Magdalena, fue una muy buena socia en todo tipo de negocios para el matrimonio Dalí.
Es público que su esposa Gala era una gran seguidora de la ocultista Madame Blavatski, de quien no entraremos a hablar en este momento, que cada uno busque y saque conclusiones.
En todo caso, la huella del culto luciferino es palpable en muchos detalles en la visita a la casa museo de Port Lligat.
The Speedmaster Apollo 11 45th Anniversary Limited Edition
The Omega ref. 105.012 Speedmaster (1965)
Astronaut, Buzz Aldrin on the cover of Revolution UK Issue 14
That’s right, he made a conscious decision to strap his Omega onto his wrist because what kind of Space Cowboy would be complete without his most heroic of timepieces? This made his Speedmaster the first watch on the Moon. While the Tribute to Apollo 11 features the familiar crown guards and lyre lugs of its ancestor, the seminal ST 105.012, it is transformed into an achingly modern timepiece through the use of matte, brushed Grade 2 titanium, combined with a Sedna gold bezel. Similarly, the iconography on the dial looks familiar until you realize it has been executed by first PVD to create a matte, almost sinister, stealth surface, followed by laser engraving to excavate material around the subdials and indexes.
Omega’s Vice President and Head of Products, Jean-Claude Monachon, explains: “We wanted to create a watch that was simultaneously vintage and yet incredibly modern both in material and techniques. A prime example is the way we laser-engraved every minute index and even the Omega logo. When combined with the applied Sedna gold hands and the hour markers, we felt we’d created something totally unique.”
Tema anterior
Escalera de Bramante del Vaticano
Incendio Notre Dame (París), en directo (Bertrand Guay / AFP)
